In response to a commission from Count Troyer, who wanted a work closely modelled on Beethoven’s famous Septet op.20, Schubert – despite his fervent admiration for the older composer – resolutely struck out on his own by delivering an ... Octet. While the enlarged forces opened his path towards symphonic writing, examination of the form and expression reveals a much more accomplished and personal composition than has generally been recognised by commentators. Isabelle Faust and her partners, enthralled by what is an exceptional work in every respect, offer us a new interpretation of it on period instruments.

Personnel & instruments:
Isabelle Faust (violin)
- Stradivarius “Sleeping Beauty”, 1704
Anne Katharina Schreiber (violin)
- anon., Holland, c. 1700
Danusha Waskiewicz (viola)
- anon., Bohemia, c. 1860
Kristin von der Goltz (cello)
- anon., Vienna, c. 1800
James Munro (double bass)
- G. Panormo, London, 1827
Lorenzo Coppola (clarinets)
- 11-key B flat clarinet after A. Rorarius (Vienna, c. 1820); copy by Agnès Guéroult (Paris, 2010)
- 6-key C clarinet after J. B. Merklein (Vienna, c. 1810); copy by Agnès Guéroult (Paris, 2010)
Teunis van der Zwart (horn)
- Courtois neveu aîné, Paris, 1802
Javier Zafra (bassoon)
- W. Triebert, Paris, 1805